SEVENTH SON OF A SEVENTH SON

The perfect blend of metal and prog? Perhaps not, but for Iron Maiden, this is the closest they came to that oh so tasty blend. More convincing has Bruce Dickinson's vocals become, and the unique nature of their music has been fully revived.

The lyrics are well written,even if they are a tad colloquial. Moonchild storms much more strongly than any other Iron Maiden opener I think I have ever heard. Those darkly cynical guitar runs, the overwhelming guitar section, and the epic, eerie introduction all add up to quite the monolithic beginning. Oh how I do enjoy that psychotic laugh, too!

A testament to the diversity that Iron Maiden could muster if they so chose to, Infinite Dreams culls melancholic trails of melody into a fantastic rhythm led on by memorable guitar lines. The build up and shifts present are quite the treat, and opens a lot of musical avenues. Gone are the days of faceless filler wedged between glimpses of brilliance. Here is where Iron Maiden play to all of their strengths, adventurous ways, and technical prowess.

Can I Play With Madness is possibly the only real dip I see. The catchy chorus is pleasing, though. It is a short drop in quality, meaning it is a decent metal song. I also found it lacking in the progression that the rest of the album showcases. It doesn't devolve into banal filler, though. the Evil That Men Do has more atmospheric soloing to commence its arrival. They rock quite powerfully, and menacingly.

The title track. This epochal song has everything Iron Maiden could possibly offer in one 10 minute opus. It has moody introduction, thick galloping, operatic vocals with fire and passion, and the middle movement leading into an almost symphonic build up unleashes a mammoth electric guitar assault, with fret hammering again and again.

The Prophecy is a fine song, but a bit underwhelming after being subjected to Seventh Son. Even at their height, Iron Maiden couldn't resist being musically repetitive in a single release. The song is by no means bad, it just isn't much more than just another Iron Maiden song. Bass lines open The Clairvoyant. It features a return to original and interesting metal, albeit without very many complex ideas going on, save the few tempo shifts. Closing is Only The Good Die Young. So far, Iron Maiden have usually saved their most, or one of their most impressive songs for each album's end. Hallowed Be Thy Name, To Tame A Land, Rime, Alexander The Great. Only The Good Die Young is a great song, and certainly on par with a few of those, but it doesn't amaze like the peaks this excellent release contains.

Filler doesn't much happen, in this land, and the compositions are more complex. Still, I feel that there are too many weak or meandering moments for this record to be a masterpiece. Iron Maiden's most progressive and diverse release, and excellent overall.

Best Moment - Title Track

Worst Moment - The loss of steam at Prophecy

**** seventh stars.

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